Podcast appearances and mentions of Emily Young

Marama Labs, a rapidly growing scientific instrumentation innovator, announces the launch of its revolutionary new CloudSpec instrument for nanomedicine developers. CloudSpec's patented technology slashes development times for advanced nanoparticle drug formulations used in gene therapies, vaccines, and cancer treatments. Lipid Nanoparticle (LNP) therapies are a hugely valuable class of biopharmaceutical nanomedicines; their use in Covid vaccines demonstrated the power and speed-to-market that RNA-loaded LNPs enable. The LNP market is expected to grow 7x within the next 10 years, as new therapies are developed for some of the hardest-to-drug diseases in cancer, genetic disorders and even the common cold. CloudSpec accelerates LNP development by solving a critical bottleneck - quantifying the drug payload in seconds - while current methods take hours. Breaking the bottleneck in nanomedicine development LNPs are tiny insoluble particles embedded with RNA or DNA. They are difficult to analyse directly due to their small size and light-scattering properties. CloudSpec's Scatter-Free Absorption (SFA) technology enables fast and accurate results using a new approach based on easy-to-use UV analysis. CloudSpec eliminates the need to break up the particles for analysis and doesn't require hard-to-use fluorescent dyes. CloudSpec measurements take 15 seconds compared to 2 hours using existing methods. By measuring intact particles, CloudSpec provides results from sample to answer in just a few minutes. CloudSpec is expected to revolutionise how lipid nanoparticles are analysed and quantified. "We are thrilled to introduce the CloudSpec instrument to the market," said Brendan Darby, CEO of Marama Labs. "This innovative technology represents a significant advancement in the field of nanomedicine, and we are confident that it will transform research with lipid nanoparticles." "We worked with some of the leading names in RNA-LNP biopharma to develop CloudSpec for this market. It has received a hugely positive response from our users, who are desperate to get away from the current slow, labour-intensive and inaccurate fluorescence measurements. CloudSpec gets them over the drug assay bottleneck and will speed up delivery to market", said Darren Andrews, CCO of Marama Labs. CloudSpec's launch to market will be spearheaded by a webinar on 7 May 2025 from two of CloudSpec's users from our Early Access Programme - Dr. Emily Young of 4basebio (UK) and Dr. Johanna Simon of Merck KGaA (Germany). Registration for the webinar is available here https://beacon-intelligence.com/webinar/rna-dna-quantification-in-lnps/. For more information about CloudSpec and its capabilities, please visit our website at www.maramalabs.com.

WNXP's Program Director Jason Moon Wilkins and Events Director Emily Young sit down for an insightful and practical chat all about the undying power of radio.

Emily Young (Bloody Bloody Andrew Jackson) joins me to discuss her performance as Virginia.in Orlando, A New Musical at Theater Row in New York City. Emily talks about the gender-bender tale based on the 1928 novel Orlando, bringing the love story between Virginia Woolf and Vita Sackville to the stage infused with rock, and pop orchestrations.

534 - Flying Bubbles - Samuel Mann and Mawera Karetai are joined by Emily Young who brings us her episode of Coming Up For Air. With a contribution from Tahu Mackenzie. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

Dubbed the "High Fidelity" for millennials, the book paints a picture of Nashville before it became "It City" — before the bachelorettes moved in, before Lower Broad was owned by country stars and before most major bands added Music City as a tour stop. "Lo Fi" takes us back to a time when Nashville felt like it was by residents and for residents.Today, we interview author Liz Riggs about the book, her inspirations, and her Nashville. Also joining us for today's music-filled episode will be Mike “Grimey” Grimes and WNXP's Emily Young.Today's Guests: Liz Riggs | Author, Lo Fi Mike Grimes | Owner/operator of Grimey's New & Preloved Music and The Basement venues Emily Young | WNXP Events and Promotions director Jude Mason | Guest Host Today's show was produced by Jude Mason.

The future of healthcare isn't just about treating illness, but fundamentally reshaping how care is delivered and experienced. Join us as Emily Young from Tufts Medicine Integrated Network and Courtney Fortner from Navvis share their compelling insights on the transformative potential of value-based care. Emily delves into the importance of integrating value-based and volume-based approaches, while Courtney brings to light the inspirational story of a physician who found renewed purpose and postponed retirement thanks to the positive impact of value-based care.Strategic partnerships and collaboration between payers and providers are crucial in accelerating the shift to value-based care. Emily and Courtney explore the intricacies of this journey, emphasizing the necessity for clinical and payment transformations to work in tandem. The discussion highlights how organizations like Tufts leverage market dynamics and strategic relationships to advance in value-based care, painting a vivid picture of a healthcare system poised for long-term, meaningful improvements. Host David E. Williams is president of healthcare strategy consulting firm Health Business Group. Produced by Dafna Williams.

In Nashville, there are more people who work in the music industry per capita than any other city in the world. It's the perfect setting for Music Citizens, a series about the people behind the scenes who make music work. Episode 1 is about Bruce Fitzpatrick, owner of The End. We're doing this series at a time when independent music venues like The End are in trouble. And it's all precariously held together by one 80-year old man who does the job of 10 people.Voices in the episode include: Jason Moon Wilkins — Host Justin Barney — Reporter, Producer Bruce Fitzpatrick — Owner of The End Alyson Estes — Assistant GM of The End Michelle Egnasko — Legacy Promotions Jason Ringenberg — Lead singer of Jason & the Scorchers Danie Pujol — Lead singer of Pujol Brennan Wedl – Musician Amy Dee – Owner of Dee's Country Cocktail Lounge This episode was produced by Justin Barney, Emily Siner and Jason Moon Wilkins. Mixing and Mastering by Michael Pollard. Special thanks to Tony Gonzalez, Jewly Hight, Rachel Iacovone, Marquis Munson, LaTonya Turner, Meribah Knight, Jesse Strauss, Carly Butler, Stephanie O'Byrne, Emily Young and everyone who helped. Institutional support from Metro Arts, National Endowment for the Arts, Tennessee Arts Commission, Metro Arts Thrive and First Horizon FoundationFollow WNXP on social platforms as @WNXPNashville and for more on Music Citizens you can head over to WNXP.org/musiccitizens/

In Nashville, there are more people who work in the music industry per capita than any other city in the world. It's the perfect setting for Music Citizens, a series about the people behind the scenes who make music work. Episode 1 is about Bruce Fitzpatrick, owner of The End.We're doing this series at a time when independent music venues like The End are in trouble.And it's all precariously held together by one 80-year old man who does the job of 10 people.Voices in the episode include: Jason Moon Wilkins — Host Justin Barney — Reporter, Producer Bruce Fitzpatrick — Owner of The End Alyson Estes — Assistant GM of The End Michelle Egnasko — Legacy Promotions Jason Ringenberg — Lead singer of Jason & the Scorchers Danie Pujol — Lead singer of Pujol Brennan Wedl – Musician Amy Dee – Owner of Dee's Country Cocktail Lounge This episode was produced by Justin Barney, Emily Siner and Jason Moon Wilkins. Mixing and Mastering by Michael Pollard. Special thanks to Tony Gonzalez, Jewly Hight, Rachel Iacovone, Marquis Munson, LaTonya Turner, Meribah Knight, Jesse Strauss, Carly Butler, Stephanie O'Byrne, Emily Young and everyone who helped. Institutional support from Metro Arts, National Endowment for the Arts, Tennessee Arts Commission, Metro Arts Thrive and First Horizon FoundationFollow WNXP on social platforms as @WNXPNashville

The healthcare system is in freefall with rising costs, worse care, and frayed patient-provider relationships.Is value-based care the cure?Join us in this week's HealthBiz Brief, as Emily Young, President of Tufts Medicine, and Courtney Fortner, President and CEO of Navvis, as they detail how their partnership is expanding value-based care with an eye on improving quality, affordability, and experience.

Property Council WA, interim executive director Emily Young joined Julie-anne Sprague this Afternoon to talk about the launch of a YIMBY campaign designed to promote a a 'Yes In My Backyard' attitude amid Perth's housing crisis.     See omnystudio.com/listener for privacy information.

This week, Emily Young, Interim Executive Director of the Property Council of Australia (WA), sits down with Trent to outline PCA's key advocacy document for the upcoming 2025 WA State Government election campaign, which includes a number of interesting and compelling ideas to improve WA's current housing crisis. Don't miss this very informative chat.

Dr John Huffman, DC, Olivia Huffman, PT, DPT and Emily Young, PT, DPT educate on what Shockwave Therapy is and how it has been impacting patients in their clinic. Listen in and give us a call to set up a consultation to determine if you're a candidate! Elevate Wellness is located in McCook, NE and can be reached at 308-777-2476. Check out elevatewellnesshealth.org and 308Chiropractic.com for more information on our practices and services!!

Haaaaaaaaaaaaaaaaapppppyyy neeeeeeeewwww yeeeeeaaaarrrrrrsss daaaaaaaayyyyyyy. (Pretend I did that for all of this) Make sure you crack open a nice fizzy drink as we ring in the new year with Slotherhouse!---"Emily Young, a senior, wants to be elected as her sorority's president. She adopts a cute sloth, thinking it can become the new mascot and help her win, until a string of fatalities implicate the sloth as the main suspect in the murders. Don't rush, die slow."

Slotherhouse is a 2023 comedy horror film directed by Matthew Goodhue. It was released on August 30, 2023 to mixed reviews. Emily Young adopts a pet three-toed sloth named Alpha with the goal of using it to gain votes to become head of the Sigma Lambda Theta (SLTH) sorority. The pet is loved by all until it begins to kill the sorority girls one by one. The girls must survive and escape the sloth before they die. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Stephanie, John & Dave pledge a sorority where they take things slow - Slothlike slow! This is the untrue story of several sorority sisters picked to live in a house and have their lives taken… Where we find out what happens when an adorable sloth with anger issues stops being polite and starts getting real. It's SLOTHERHOUSE!!! Here's the rapid recap to catch you up! Emily Young is a college Senior who will do anything to attain her dream of becoming house president of her Sorority. But standing in her way is current president and mean girl Madison – I think it's Madison. I didn't really catch the name of anyone in this movie and all the Sorority sisters basically looked the same to me. So Emily does the one rational thing – she adopts a Sloth in order to win over friends and become president. But does any of that really matter? Because we're watching a movie called SLOTHERHOUSE. There's a Sloth, there's a house and there's a lot of dead bodies. You're re-capped!Follow us on:Twitter @CraptaculusInstagram @cinemacraptaculusIntro Music: "The Builder" - Kevin MacLeod (incompetech.com) | Licensed under Creative Commons: By Attribution 3.0 | http://creativecommons.org/licenses/by/3.0/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4761485/advertisement

This week we're talking to two artists inspired by the nature.    Emily Young, hailed as Britain's greatest living female stone sculptor, specialises in using materials from abandoned quarries and Francis Hamel is known for his portraiture and landscape paintings.  Emily lives and works mostly in an isolated part of Tuscany, where she free carves in reclaimed uncut natural stone, often found in abandoned quarries. She evokes beautiful ancient figures from an unknown mythology.   Her main objective is to explore the relationship of humankind and the planet through her interaction with stone.  Her 25 new works in stone are being exhibited at Richard Green on Bond Street, in association with Willoughby Gerrish Ltd.    Francis has lived and worked for over 25 years at Rousham, one of England's most prized historic house and gardens. He explains how the garden at Rousham became the starting point for his exhibition when he was seeing it afresh during lockdown.  From there he went on to paint some of Britain's best-known gardens including Sissinghurst, Great Dixter, Sezincote, and Stourhead, as well as some private ones designed by renowned gardeners like Sarah Raven, Arthur Parkinson and Tom Stuart-Smith. His exhibition of garden paintings launches at his Oxfordshire home of Rousham before moving to John Martin on London's Albemarle Street.   Together they talk about how they work, what inspires them and what they set out to achieve. It's a fascinating conversation about the artistic process and highlights their similar and different approaches to stone and to paint. Emily Young: Pareidolia in Stone from 25th October to 10th November Richard Green https://www.richardgreen.com Francis Hamel: Thirty Gardens from 12th to 27th October John Martin https://www.jmlondon.com   This episode is brought to you with the kind support of support of Lomi, makers of ‘smart waste appliances' that transform food waste into plant food.  Go to Lomi's website at uk.lomi.com and use promo code breakout at the checkout for a £50 discount.

It has a rich history in East Asia, where the Camellia sinensis plant is native. This is the tea leaf plant that produces the black, green, oolong and white tea leaves we're familiar with. And each culture that has embraced tea creates their own traditions for brewing, presenting, and drinking it. We'll explore different traditions around hot tea, and find out who in Nashville is carrying on these traditions! But first, Emily Young at sister station WNXP stops by the studio to tell us how we can celebrate 91 Day! Guests: Sachi Uemoto Groves, owner of Enishi Japan Jenny Zhong, owner of Music City Tea  Leah Larabell, co-owner of High Garden Tea Jude Mason, tea enthusiast and WNXP DJ Related reading: Movers & Thinkers: Finding The Secrets Of The Universe In A Cup Of Tea This episode was produced by Magnolia McKay.

Emily Young of Save Our Shannon Organisation on the 75,000 acres of farmland in an area known as "The Callows" which is underwater

Emily Young joins the show to tell us about reporting live from the scene, and how being a mom changed her ambition. Then we grill Emily on why she's not doing more on social. 00:00 What EXACTLY is a news reporter? 10:11 Emily's journey to the News 18:00 Emily heads to the Middle East 53:14 Did feminism get it wrong? 01:23:00 Harry & Meghan 01:27:30 The Titanic Submerisble As always, find us on... ◘ Spotify: https://open.spotify.com/show/6geoUKSTVsEL2sMQ63pkSN?si=25df960bd85e40b6 ◘ Apple Podcasts: https://podcasts.apple.com/us/podcast/buckle-up/id1589871008 ◘ Instagram (@buckleuppodcast): https://www.instagram.com/buckleuppodcast ◘ TikTok (@thebuckleuppodcast): https://www.tiktok.com/@thebuckleuppodcast ◘ YouTube: https://www.youtube.com/channel/UCoIZgc8_0dTwuwnQzqnyHlg Links Follow Emily on Insta Ira Glass on the creative process ◘ Mike's Newsletter: https://contextiseverywhere.beehiiv.com/ ◘ Ami's TikTok: https://www.tiktok.com/@aj_comedy?lang=en#podcast #creativeprocess

Today's episode features Emily Young, she is the CEO and co-founder of Moving Health, a company that is literally moving health forward through their low-cost emergency transportation innovation. Their mission is simple. Saving lives, one ride at a time. For more information about Moving Health please visit: https://www.moving.health/ MedxTek Africa is produced and hosted by Dr Sam Oti, and co-edited by Veronica Ojiambo. If you have any thoughts on this episode, or recommendations of African health innovators that you'd like us to host on the show, please reach out directly by email: sam.oti@alumni.harvard.edu or find us on Twitter or LinkedIn. Please note that the MedxTek Africa Podcast is distinct from Dr. Oti's role as a Senior Program Specialist at Canada's International Development Research Centre. The information provided in this podcast is not medical advice, nor should it be construed or applied as a replacement for medical advice. The MedxTek Africa Podcast, its production team, guests and partners assume no liability for the application of the podcast's content.

Join Lennox Senior Product Marketing Managers, Emily Young and Kevin Suarez, as they delve into the ever-changing landscape of the HVAC industry, which includes regional standards, refrigerant changes, efficiency rating adjustments, and the drive towards electrification. Gain insight into the behind-the-scenes process of creating HVAC products, and learn about the difficulties of keeping up with a rapidly evolving industry. Tune in for a fascinating discussion on the challenges facing the HVAC industry today.On Air is a Lennox Learning Solutions Production 

Emily Young, a Grief and Trauma Therpaist, Trauma Informed Personal Trainer, + the Co-Creator of the Hope Ignited Trauma Informed Personal Trainer certification joins us today as we explore the intersection of movement + mental health, specifically through the lens of a therapuetic approach called Internal Family Systems. Connect with Emily: On IG: @theembodiedtrainer Hope Ignited Training: https://hopeignitedtraining.com/ More on IFS: https://ifs-institute.com/    

Emily Young is an artist proficient in the medium of embracing the here and now. Her gifts span from guiding mothers through birthing realms to examining consciousness and healing through plant medicine. Twenty years ago the black and white may have talked about her going to court reporting school for all the wrong reasons or eating pancakes and playing the piano high in her Mormon church. Ten years ago she was a few months sober out of her second rehab starting at the non-profit she would be with for eight years before ayahuasca and the plague revolutionized her world. Today she lives in a blue house with an orange door in Denton, Texas. She pays the mortgage as a doula and educator. Currently her focuses are in the birth and postpartum arenas and she is excited to have expansion into other passions in the works. In early 2022 she started her own company - Dancing With Now - a name that perfectly reflects her approach to life and birth that allows her the freedom to follow her professional flow wherever it leads. https://www.instagram.com/dancingwithnow/

So many things….Thanks to everyone who shared their unexpected experiences! Listen in to see if you can relate and learn how pelvic health and pre/postnatal care in our clinic can help! Brittany Gohl, PTA, CPT is becoming a pre and post natal fitness specialist certification to be able to assist all you mamas in safe and appropriate exercise recommendation and Emily Young, PT, DPT, CLC, CPES is certified in lactation counseling and pre/postpartum rehabilitation. There's so much we can do to elevate your pregnancy and postpartum period. Follow us @elevate.motherhood @elevatemovement_

Dr. Emily Young, Executive Director of the USD's Nonprofit Institute, and Paul Eichen, Founder and Board Chair of Kid Spark Education, talk about the Institute's use of research to support/strengthen nonprofits such as Kid Spark. Young and Eichen chat about the missions of their respective organizations.

For this upcoming heart health month,  Emily Young, PharmD, BCPS, BCCP, Cardiology Clinical Pharmacist Practitioner joins the Quality Corner Show to talk about Atherosclerotic Cardiovascular Disease (ASCVD) Risk Assessment  with Podcast Host Nick Dorich, PharmD, PQS Associate Director of Pharmacy Accounts. In this episode, Young explains a comprehensive approach to managing lipids and how that guides a treatment plan, and the typical medications involved. To estimate risk for ASCVD, here's a link to the American College of Cardiology's Risk Estimator Plus. 

My guest for this episode is Sex & Love Coach Emily Young. Emily helps women. Women are her main focus, and she seeks to empower women sexually in their lives and relationships. She's an incredible resource for women! She shares tips for how to keep the boringness out of your sex life. She also talks about removing shame. She shares her journey in how she learned to remove shame, express her sexuality, and embrace her full sexual self. She grew up in a conservative Christian home as a preacher's daughter, so she has walked the path she's teaching about. She emphasizes how we can all shed our oppressive pasts. She also shared how she deals with spiraling and triggers with self-love. This is really helpful stuff! She desires to help women feel comfortable talking about sex by doing breathwork and dropping into their bodies to feel safe, and she does this by meeting them at their comfort level. She said it's hard to share our body if you aren't comfortable it in to begin with... so very true! She teaches us as women how to shed obligation duty bound sex patterns and how to shed the people-pleasing mode. She instructs on ideas for exploring sexual fantasies and experiences for both single people and those in relationships. She shares what to do with a partner who may shame you for any aspect of your sexuality. She helps women become sexually empowered in a way that fits them as individuals. Check it out by listening, and follow Emily Young on Instagram for more! http://instagram.com/emily_young_co

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

In this episode, Emily and I discuss trauma, how it changes your body, and why a trauma-informed personal trainer is a must when you are searching for someone safe enough to walk this journey with you.

I had an amazing time with my first ever group interview here on the show, talking with two change makers in the fitness space, Emily Young and Chelsea Haverly. Emily and Chelsea are the co-creators of the one-of-a-kind Hope Ignited Trauma-Informed Personal Training Certificate Program, and they both do absolutely incredible work. As a graduate of this very program, I mean it when I say that this program was truly life-changing for me both personally and professional. There are so many impactful takeaways from today's episode, and I promise y'all that you don't want to miss out!Tune in as Emily and Chelsea recount the history of their certificate creation process, discuss the details about the deeper impacts of the Hope Ignited Trauma-Informed program, and explore where they envision the world of trauma-informed personal training moving in the future!You can learn more about the incredible work that Emily and Chelsea do with Hope Ignited Training by checking out the resources below...Hope Ignited Training website:www.hopeignitedtraining.com The Hope Ignited Directory for connecting with a Trauma-Informed Trainer:https://hopeignitedtraining.com/directory/ Follow Emily's Instagram:https://www.instagram.com/theembodiedtrainer/ Follow Hope Ignited Training's Instagram:https://www.instagram.com/hopeignitedtraining/ I hope you liked this episode and if you did, I'd really appreciate it if you could leave a rating and review on iTunes. Please message me @lighthouse_fitness on Instagram if you have any more questions and check out www.befitwithlighthouse.com to find out more ways to take control of your health today.

Ep 201: Helping Women Become Sexually Empowered with Emily Young. My guest for this episode is Sex & Love Coach Emily Young. Emily helps women. Women are her main focus and she seeks to empower women sexually, in their lives, and in their relationships. She's an epic resource for women!She shares tips for how to keep the boringness out of your sex life. She also talks about removing shame. She shares about her own journey in how she learned to remove shame, express her sexuality, and embrace her full sexual self.  She grew up in a very conservative Christian home as the daughter of a preacher, so she has walked the path she's teaching about. She emphasizes how we can all shed our oppressive pasts. She also shared how she deals with spiraling and triggers with self-love. This is really helpful stuff!She desires to help women feel comfortable talking about sex by doing breath work, dropping into their bodies to feel safe, and she does this by meeting them at their comfort level. She said it's hard to share our body if you aren't comfortable it in to begin with... so very true! She teaches us as women how to shed obligation duty bound sex patterns and how to shed the people-pleasing mode. She instructs on ideas for exploring sexual fantasies and experiences for both single people and those in relationships. She shares about what to do with a partner who may be shaming you for any aspect of your sexuality. She helps women become sexually empowered in a way that fits them as individuals. A few of my favorite things she said are: how that if people can't love you for who you authentically are, maybe those aren't your people and it's time to go find your people, and... if it's not a hell yes, it's a f*ck no! Plus, we call all life a "oh f*ck yeah" life!Great lines from this interview with Emily! Check it out by listening and follow Emily Young on Instagram for more! http://instagram.com/emily_young_co and https://linktr.ee/_emilyyoung_Connect with me, Ruan Willow, the podcast host at: https://linktr.ee/RuanWillowThe anthology releases October 22!Ruan's anthology: Decadent Erotica An Anthology of 10 Tales of Extreme Sensuality, Indulgence, Dominance, & Submission.Universal link to the book: https://storyoriginapp.com/universalbooklinks/f96fc8e4-338f-11ed-9399-3b82020d795fOnline sellers ebook: https://books2read.com/u/mZEQvJComing in paperback to online sellers 10/22/2022Leave  a voicemail  https://www.speakpipe.com/ohfckyeahwithruanwillowMore books: Skinny Dipping at the Pond on a Hot Summer Day (affiliate) https://amzn.to/3pKE7qBA couple meets up unexpectedly when both plan to skinny dip at a pond and naughtiness ensues.Get a copy of Ruan's Beach Getaway:Online sellers: https://books2read.com/u/m2eE6dAmazon  for any market in the world (affiliate): https://storyoriginapp.com/universalbooklinks/c9fbb3e6-ddf1-11ec-b61c-5b8761feaf66Never Say, Never Swing, friends hooking up for a first-time swinging story where long-time fantasies get fulfilled! https://storyoriginapp.com/universalbooklinks/8771f0ec-ffa9-11ec-950a-8f0d44267c5dSupport the show

Emily Young graduated from Sex Coach Prep School, and right out of the gate, she began helping women come back to themselves, their desires, and their connection to their bodies. You'll hear Emily's story of getting pregnant at 19 and the moment she realized she had lost herself in her identities of mom, wife, and employee. She shares what she did to begin getting to know herself again and how this led her to find her passion and join Sex Coach Prep School.Today on That Sex Chick:Emily's story of reclaiming herself & pursuing her passionChallenges related to sex are always fixableFinding deep healing within a container of supportive womenWays sex coaching translates into your personal lifeHow Emily helps women's lust for life come backCoaching industry & turning your passion into your full-time jobThis show is sponsored by:Yoni Pleasure Palace | Visit yonipleasurepalace.com and get 10% off with the code THATSEXCHICK.Follow Emily:IG: @emily_young_co Connect with Alexa:Instagram: @thatsexchickWebsite: sexandlove.coFree resources: sexandlove.co/resourcesFacebook Group: Sex & Love Co Community Click here to submit your review for That Sex Chick, and you'll get access to “Uncover Your Inner Kink,” a guided meditation and more, created by Alexa! This show is produced by Soulfire Productions

Emily Youn is the first No BS woman I met in person. I met her at the baggage claim of the Nashville Airport in 2015 when I attended my first in-person No BS event. Back then, the No BS weight loss group was called PNP Tribe .We were about 100 members strong and forged solid and authentic connections even when meeting up with people on the internet was not as common. Over the years, Emily has been a good friend I can count on for love and support. I am so proud to have her in y corner as a friend. She is one of the most empathetic, kind women you could ever meet. Not to mention intelligent and generous of heart. Emily was one of the first friends I told I was starting this show. She not only has been one of my strongest supporters, but she also gave me invaluable advice to trademark the name Casa DeConfidence. After a successful career in a major law firm in Austin, she transitioned to working for our friend Corinne. While working for NoBS, she discovered her passion for helping other women connect to their long-forgotten desires and go from being depleted and burnt out to thriving and fully reawaken their desires. I am so proud that she is now a certified Sex Coach and is helping women who have spent years doing for others prioritize themselves and reawaken their desires and feel alive and at ease with their bodies. Find Emily on Instagram here.Make sure you sign up for her email list. She is sure to have some beautiful nuggets of wisdom and love we can all use in our lives. The Future Is FreelanceThis show is for freelancers, sole traders, solopreneurs, digital nomads, consultants,...Listen on: Apple Podcasts SpotifySupport the show

Where to even begin with this awesome human! She is a physical therapist and the woman who opened "Elevate Wellness" in McCook, NE. There is so much to know about her, so we made it simple and put a link to her bio and website below. Not to mention the amount of services Elevate Wellness has to offer.  This episode was so much fun and we have to give her a shout out for being a part of our event this last weekend! THANK YOU EMILY!!!!!!    Meet Emily Young Elevate Wellness  

Join AE editors Jay Whistler and Emily Young, along with special guest Kathryn Benson, co-creator of the Truer Words podcast, as we talk about our favorite episodes of the HBO series OUR FLAG MEANS DEATH. We discuss plot, subplot, themes, character development, and more. Note: contains SPOILERS for the entire season. 

Emily Young, PT, DPT, CLC, Erin Kottich, PT, DPT and Katie Farrell with Katie Farrell Yoga + Pilates are all discussing how it was God's handiwork that their paths intercepted to lead them to pursue the lives God intended for them.

AE editors Danielle Sunshine and Emily Young chat with authors Uma Krishnaswami, Alan Cumyn, and A. S. King about overcoming challenges in the writing and publishing process. Check out their websites at https://www.as-king.com, http://alancumyn.com, and https://www.umakrishnaswami.com.

AE editor Emily Young chats with award-winning author and VCFA faculty member Louise Hawes about side-writing exercises,  authentic characters, and staying creative during tough times. Discover more about Louise at louisehawes.com.

Emily is a young, ambitious, dynamic business owner. She talks about her business Cadence & Cake, and also about some of her struggles with eating disorders, mental health, and much, much more. Tune in!

On Episode 26 of The Bulldog Gear podcast we are joined by Emily Young. Emily is an endurance athlete, triathlon coach and incredible triathlete in her own right, who has raced on the world stage. We spoke about how Emily found herself involved in endurance sports, exercise and mental health, the pitfalls of following common advice for endurance athletes as a female and the future of endurance sports. A thoroughly enjoyable chat that I took a lot away from, and I hope you guys do too. Enjoy!

In this week's episode of the EcoThink Podcast, Yuko and I revisit the topic of Fast Fashion, taking more time to discuss the social justice and human rights issues that are tangled up in this goliath of an industry. Talking points include the closing of the Accord on Fire and Building Safety in Bangladesh, a legal accord that was created as a result of the 2013 collapse of Rana Plaza that has expired in May 2021; what are the COVID impacts on workers in fast fashion; suggestions for western consumers of clothing on how to address these issues; and what kind of mindset shift needs to happen for companies to embody sustainability as a main tenet of their design and operations.   Sources: Slow Fashion in a Fast Fashion World: Promoting Sustainability and Responsibility by Mark K. Brewer   What Does ‘Fast Fashion' Mean for Workers? Apparel Production in Morocco and Romania by Leonhard Plank; Arianna Rossi; and Cornelia Staritz   Bangladesh textile workers' death avoidable by Emily Young https://www.bbc.com/news/business-22296645    Accord on Fire and Building Safety in Bangladesh: https://www.refinery29.com/en-us/2021/04/10440069/eight-years-after-rana-plaza-factory-workers-rights    Sustainable Fashion as a Tool for Alleviating Poverty: https://www.borgenmagazine.com/sustainable-fashion/ 

Have you ever felt inadequate to mother your child because of their diagnosis? In this episode, Katherine shares what it was like to find out her daughter Anna had achondroplasia—the most common form of dwarfism—during a 32-week ultrasound. As she researched the condition and faced the stigma she would help her daughter navigate throughout her life, she felt Anna would be better off adopted by adults with achondroplasia. Anna’s birth was just what she needed to out of that headspace. She found healing in just loving and snuggling her daughter and found her voice in advocating for her medical care. It was then that she discovered her competence in her role as Anna’s mom. Links: Check out our sponsor BetterHelp counseling and get 10% off here. Listen to Emily Young’s episodes about her daughter Nora with achondroplasia here and here. See photos of Katherine and her family on the website here.

Artists and architects have for centuries been drawn to the stone in the hills of southern Tuscany. It's the home of Carrara marble and the quarry where Michelangelo found the stone for his work. Now it's home to Emily Young – acclaimed as Britain's greatest living stone carver. Her sculptures are collected and displayed around the world, but as a passionate conservationist she also takes her work on to the front line of environmental activism; using sculptures to protect green spaces and take on gangs fishing illegally off the coast of Italy. Over the course of 4 months In the Studio follows Emily Young as she turns a 3 and a half tonne block of stone into her latest work of art. It becomes a race against time as the days shorten, the light closes in and the deadline looms for Britain to leave the European Union. This is an intimate portrait of an artist for whom the creative process is meditative and usually very private.

In questo podcast racconteremo di Roger Keith Barrett, detto “Syd”, fondatore e principale autore dei Pink Floyd nelle loro origini. Acclamato come geniale musicista, la sua figura controversa è colma di luci e ombre. Da un lato il l'artista innovatore, i testi ricchi e psichedelici, gli esperimenti sonori; dall'altro il ragazzo fragile, la pressione del mondo dello spettacolo e l'uso di droghe. Andiamo per ordine… Gli inizi e il talentoEmily ci prova ma non capisce, ah ooh
Molto spesso prova a prendere in prestito
i sogni di qualcuno fino a domani

Non c'è un altro giorno
Proviamo in un altro modo
Perderai la tua mente e il gioco
Giochi gratis a Maggio
Guarda Emily giocare

Poco dopo il pianto dell'oscura Emily, ah ooh
Che osserva con dolore tra gli alberi
non si sente un suono fino a domani

Non c'è un altro giorno
Proviamo in un altro modo
Perderai la tua mente e il gioco
Giochi gratis a Maggio
Guarda Emily giocare

Indossa una gonna che arriva al pavimento, ah ooh
Galleggia sul fiume sempre e per sempre, Emily

Non c'è un altro giorno
Proviamo in un altro modo
Perderai la tua mente e il gioco
Giochi gratis a Maggio
Guarda Emily giocareInterpretazione:See Emily play è un singolo del 1967 e contribuì indubbiamente a spianare alla band la strada verso il successo. Dopo l'uscita del brano, i ragazzi londinesi si videro catapultati nel mondo dello showbusiness, tra interviste e apparizioni televisive. Questo provocò all'allora frontman Syd Barrett non pochi problemi. Egli ebbe grosse difficoltà ad accettare il fatto di essere riconosciuto come un musicista rock commerciale, invece che come un artista.Sulla copertina si vede l'immagine di un treno disegnato da Barrett. Il testo da lui scritto è ispirato a un viaggio psichedelico, durante il quale incontrò la protagonista della canzone. La giovane musa di Barrett, Emily Young, fu una scultrice, che desiderava raccontare la verità sulle origini della vita e della coscienza umana. Le sue opere, a un primo sguardo, evocano un ricordo dei lavori di Paul Gauguin. Come l'artista francese infatti, Emily Young credeva che la verità sul genere umano fosse primitiva e arcaica e che essa fosse nascosta dalle forze della natura. Presumibilmente, il brano parla di una giovane aristocratica, conosciuta come la ragazza psichedelica. Con i suoi versi mistici, stravaganti, e a tratti infantili, il pezzo contiene un significato molto più profondo. Il testo di See Emily Play rappresenta la crème de la crème della scrittura di Barrett, una pura testimonianza dello spirito degli anni sessanta. Una parte di esso cela un velato misticismo. È impossibile determinare con esattezza cosa ispirò il cantante per la stesura del testo, come nel caso di molte altre sue canzoni. Barrett stesso espose molte versioni, una di queste vede il musicista incontrare un'insolita ragazza dopo aver assunto una dose di LSD in un bosco ed esservisi addormentato. Ho una bicicletta,
ci puoi andare se ti va
ha un cestino, un campanello che suona
e cose che la fanno bella
Te la darei se potessi
ma l'ho prestata

Sei il tipo di ragazza
adatta al mio mondo
Ti darò tutto, qualunque cosa
se vuoi qualcosa

Ho un mantello, è un po' ridicolo
c'è uno strappo sul davanti. è rosso e nero
Ce l'ho da mesi
se pensi che possa sembrarti bello,
allora credo che lo sia

Sei il tipo di ragazza
adatta al mio mondo
Ti darò tutto, qualunque cosa
se vuoi qualcosa

Conosco un topolino che non ha casa
Non so perché lo chiamo Gerald
È ormai piuttosto vecchio
ma è comunque un buon topolino

Sei il tipo di ragazza
adatta al mio mondo
Ti darò tutto, qualunque cosa
se vuoi qualcosa

Ho una tribù di uomini di zenzero
Uno qui, un altro lì, un sacco di uomini di zenzero
prendine un paio se desideri, sono sul piatto

Sei il tipo di ragazza
adatta al mio mondo
Ti darò tutto, qualunque cosa
se vuoi qualcosa

Conosco una stanza di brani musicali
Qualcuno giusto, qualcuno sottile
La maggior parte non funziona
andiamo nell'altra stanza e facciamoli funzionareBike è l' ultima traccia dell'album di debutto, The Piper at the Gates of Dawn, del 1967.Il testo, anche questo di Barrett, è dedicato alla sua ragazza dell'epoca, Jenny Spires.Il brano è molto leggero e orecchiabile, così come il testo è semplice e non affronta i temi angosciosi che incontreremo negli anni a seguire, il che dà da pensare che il suo malessere non avesse ancora pervaso le sue capacità artistiche. Sembra ancora inoltre incline a pensare agli affetti, nel particolare ad una donna che è proprio adatta al suo mondo ' You're the kind of girl
that fits in with my world'. Emerge anche il concetto dell'essere compreso. In questa canzone ancora non c'è la resa totale che si riscontra in Vegetable Man, in cui Syd canta;“NON C'è UN POSTO PER ME DA NESSUNA PARTE ‘I've been looking all over the place for a place for me But it ain't anywhere, it just ain't anywhere.' In questo brano c'è ancora spensieratezza, affetto, vicinanza, desiderio di aprirsi all'altro. La calma prima della tempesta.La crisi e il crolloNell'autunno del 1967, l'atmosfera all'interno dei Pink Floyd era tesa e nervosa. Il gruppo era riunito a Londra per registrare nuovi singoli, richiesti dalla casa discografica, e il secondo album, A Saucerful of Secrets. Syd Barrett si comportava in modo sempre più lunatico ed inaffidabile e il resto del gruppo fu infine costretto a chiamare David Gilmour come supporto e secondo chitarrista, ufficialmente, ma pensando già a una sostituzione. Amico di infanzia di Barrett e conoscente di Waters, Gilmour si trovò in una situazione alquanto imbarazzante, poiché il gruppo ancora non voleva espressamente che gli si sostituisse, ma Barrett lo vedeva già come un intruso, nonostante continuasse a comportarsi in modo stravagante ed esasperante, obbligando Gilmour a rimediare alla sua presenza-assenza. Sono di questo periodo due canzoni esemplari della situazione di Barrett, da lui scritte e composte: Vegetable Man e Jugband Blues. Nella prima descrive se stesso in modo ironico, prendendosi in giro e svilendosi; nella seconda esprime la propria alienazione rispetto al gruppo e al mondo, sfogando la frustrazione del suo isolamento.I Pink Floyd inizialmente sopportarono gli atteggiamenti imprevedibili di Barrett, poiché egli era sia un amico che un grande artista, fondatore del gruppo e principale compositore. Tentarono di convincerlo ad essere lo scrittore del gruppo dietro le quinte, senza partecipare ai concerti, per limitare la sua presenza in pubblico, ma egli si rifiutò. Il suo costante utilizzo di droghe, soprattutto dell'allucinogeno LSD, contribuì in modo sostanziale alla sua progressiva estraneazione dal gruppo e da chiunque gli fosse vicino e tentasse in qualche modo di aiutarlo. Da ragazzo carismatico, allegro, estroverso, divenne nel tempo sempre più depresso, asociale, alienato. In Vegetable Man, Barrett deride il suo modo di vestirsi, di pettinarsi e la sua apparenza in generale, affermando che evidentemente deve essere fatto così, un “uomo vegetale”. Il cinico umorismo utilizzato nella propria descrizione evidenzia come egli fosse in un certo modo consapevole della sua situazione. Vari sono gli aneddoti, riguardanti il periodo dall'autunno del 1967 all'estate del 1968, in cui il comportamento di Barrett appare anormale e spiazzante: spesso rimaneva ad osservare un punto fisso, con lo sguardo vuoto, senza che nulla potesse distoglierlo; nelle interviste rispondeva con frasi senza senso o scortesi; sul palco passeggiava senza cantare, poggiava la chitarra a terra, suonava soltanto una nota, rimuoveva le corde. Al pubblico dei concerti i suoi atteggiamenti lunatici piacevano, poiché sembravano una stravagante e particolare recita di un artista coinvolto ed immerso nel momento psichedelico, ma il gruppo rimaneva sempre più senza parole di fronte al comportamento inaffidabile e del suo frontman. In Vegetable Man, Barrett afferma di aver cercato ovunque un posto per sé, ma di non averlo trovato, perché non c'è da nessuna parte, a sostegno dell'evidenza. Alla fine del 1967, il resto dei Pink Floyd era giunto al punto di rottura: lo stato mentale di Syd Barrett era insostenibile e lavorare con lui era estenuante. Paradossalmente, Barrett si rendeva conto di quanto stesse accadendo, ma il suo comportamento esasperante non cessava. In Jugband Blues, egli si rivolge ai suoi compagni e al resto del mondo, ironizzando su quanto sia “terribilmente premuroso” il considerarlo come presente, ma al tempo stesso essendo “grato” che si faccia chiarezza sul fatto che lui non sia lì. In futuro, i suoi compagni e i professionisti del settore che avevano lavorato con lui affermeranno spesso come la fama e il successo abbiano inciso sulla sua salute mentale. Le numerose interviste, i lunghi concerti, la folla in acclamazione, le aspettative del pubblico e soprattutto le pretese della casa discografica e le scadenze da rispettare erano un peso enorme per Barrett, che non resse la pressione. In Jugband Blues, egli sostiene che il vero se stesso sia stato gettato via e che invece in studio sia stato portato un altro Barrett “vestito di rosso”, chiedendosi a quel punto chi fosse a “scrivere la canzone”. I suoi compagni, frustrati dal suo comportamento, decisero infine di rivolgersi a David Gilmour, amico in comune e promettente chitarrista, che dagli inizi del 1968 cominciò ad aiutare il gruppo. Il precario equilibrio interno dei Pink Floyd a cinque elementi durò poco: Barrett non era più gestibile e ormai lavorare con lui era pressocché impossibile. In studio lo si doveva quasi pregare di collaborare, sul palco agiva di testa sua, senza seguire la scaletta o rispettare i tempi. Infine un giorno, i suoi compagni diedero istintivamente sfogo alla loro esasperazione: nel giro in macchina prendere i membri del gruppo e andare a un concerto, decisero di getto di non passare da Barrett. Da quel momento, fu escluso dai successivi spettacoli.

Dr. Emily Young, Executive Director of the Nonprofit Institute at the University of San Diego, discusses the Institute's focus on research, partnerships and virtual programs to strengthen San Diego County's nonprofits in order to meet the region's critical community needs.

Emily’s mission is to help the others see past her daughter Nora’s differences and treat her like anyone else; and she has had plenty of experience doing so. In this episode, she shares things she’s learned from it, like when to speak up and when to drop it and how to set the example for siblings and eventually Nora to be able to speak up on her behalf. For a full transcript, images, comments, and more visit the website: https://therarelifepodcast.com/show-notes/ep-7-educating-others-about-your-childs-differences-w-emily-young TRANSCRIPT: Madeline Cheney Emily, welcome back to the show. Emily Thanks for having me again. Madeline Cheney Okay, we're going to talk today about educating others as your special topic, which I love since you are a special education teacher, so educating someone just makes so much sense for your topic. And what is your purpose and educating others about Nora? Emily I think my biggest goal when I'm educating about Nora is for people to understand that just because she's small, it doesn't mean that she isn't capable. Even now at two I find that people think of her as a baby, not a toddler, even though she's walking around and talking and communicating and that initially when people see her they just Oh, what a cute little baby which is nice. I know. They don't mean any harm by it, but it just kind of gives me a glimpse into the future of what people are gonna think given her size, and she'll never really be average height. So I worry that people will think because she's small, she's not capable, or that she's much younger than she is not smart. She doesn't understand what people are saying. But she does...

This week Rachel and Armana chat to Emily Young who has already achieved so much in her short sporting career. She is a two time marathon finisher, clocking an impressive 3:21 on her debut, 5 times Iron Man finisher including the prestigious Iron Man World Championships in Kona. She is also a blogger, author, influencer and has her sights set on achieving big things in the future. Emily also talks about juggling her sport with managing a full-time international job, how she deals with people questioning her training methods on social media and how important she feels Pilates is for a runner.

In this episode, I speak to Emily Young who has embarked on the Certified DevSeOps Professional online course and the gruelling twelve hour exam.Emily's details:https://www.linkedin.com/in/emily-young-a3a77255/@Ra1nb0wAn4lyst### DevSecOps - London Gathering ###https://www.meetup.com/DevSecOps-London-Gathering/Also follow us on Twitter: @DevSecOps_LG

IMPORTANT NOTE: Maker Faire 2020 has been rescheduled for Saturday, September 26, 2020. The Tuned In crew discusses the upcoming San Antonio Public Library Maker Faire 2020 with coordinators Daniella Toll and Emily Young. Interested in participating in the Maker Faire? Contact the coordinators at: makerfairesa@gmail.com Get more information about the event at: http://guides.mysapl.org/makerfaire Want to help out at the Maker Faire 2020? Submit a volunteer application here: http://guides.mysapl.org/c.php?g=987218&p=7163249 Questions or feedback for the San Antonio Public Library Podcast - Tuned In crew? Reach out to us at: sapltunedin@gmail.com

Dr. Emily Young, Executive Director of the University of San Diego Nonprofit Institute, discusses her organization’s mission to provide education, training and research to build leaders and strengthen the capacity of nonprofits in our region.

Sam Mayes and Brett-Ashlee Ward first speak with AJ Breasette, Reporter at KAKE News, who got to cover the Super Bowl. Sam then speaks with Emily Young at Iron Nation Harley Davidson. After that... We share some audio from our Super Sunday Funday party where it was an "Open Mic". It gets interesting!

In this episode Fab talks to content creator, freelance digital marketing manager and incredible athlete Emily Young about her journey towards the 'freelance lifestyle' - what she learned in the process, as well as the obstacle along the way. In the intro the whole team talks about memories and some, well, fun recollections of their first attempts at capturing images with a camera.Three things you'll learn in this episode:How to navigate the first months as a freelancerThe power of connections and networkingWhy taking time off and creating boundaries is essentialABOUT US:

In this episode Fab talks to content creator, freelance digital marketing manager and incredible athlete Emily Young about her journey towards the 'freelance lifestyle' - what she learned in the process, as well as the obstacle along the way. In the intro the whole team talks about memories and some, well, fun recollections of their first attempts at capturing images with a camera.

Dr. Emily Young is the executive director of The Nonprofit Institute. She has spent more than 20 years in various positions in philanthropy, as well as higher education. Prior to the University of San Diego, she served as vice president of community impact at The San Diego Foundation, where she was first hired to build its Environment Program in 2000. During her time at The San Diego Foundation, Dr. Young worked with numerous funders and community leaders to catalyze and facilitate regional and statewide collaboratives, developing and implementing grant-making programs around climate change, conservation and youth access to the outdoors, and clean air/water efforts in tribal and other disadvantaged communities. She also managed regional initiatives on arts and culture, civic engagement, education and youth development, and neighborhood revitalization, especially for underrepresented communities. Dr. Young received the 2011 Funder’s Network for Smart Growth Nicholas P. Bollman Award for leaders who inspire through values and action, while the Climate Initiative she led received both the 2012 HUD Secretary’s Award for Public-Private Partnerships and the City of San Diego’s Climate Protection Champion Award. Prior to The San Diego Foundation, Emily was an assistant professor at the University of Arizona, where she taught courses on environment and society, geography, and Latin America. Dr. Young graduated from the University of Wisconsin-Madison with a double BA in Ibero-American Studies and Spanish, and a MS in geography. She received a PhD in geography from the University of Texas at Austin.

In the modern landscapes of the internet YouTube is the new Daniel Cook and Emily Young and Family blogging is everywhere. How do we protect our children while still having the freedom to be creative? I interview Jonas Von Ohlen & Genki Hagata on their thought on the matter,   Peter's Video: For Her Casey Neistat Vlogs  Cody Warnner Videos Follow Jonas YouTube Instagram Follow Genki Instagram Twitter YouTube Connect with Dani! YouTube Intagram Twitter  

First off, let me say sorry for the quality of this audio. It was recorded in a coffee shop near the hospital I work at which was the best that we could do with the hour we had. We’ve done… The post Interview with Ironman Emily Young on the Podcast appeared first on The Runner Beans.

Trek10's ThinkFaaS series (recorded live at A Cloud Guru's ServerlessConf in San Francisco) continues with special guest Emily Young from Cloudreach.

Trek10's ThinkFaaS series (recorded live at A Cloud Guru's ServerlessConf in San Francisco) continues with special guest Emily Young from Cloudreach.

This week we talk with a personal trainer about what it means to be healthy. We discuss growing and changing fitness trends as well as healthy body image and how to fit a good workout into your schedule.

Days before the 100th Indy 500, the staff and crew at the Indianapolis Motor Speedway are filled with excitement. Have you ever considered seeking employment at an event that excites you? How would this change your life? http://5ed.8db.myftpupload.com/

Interview With Emily Young by NursingReview

Interview With Emily Young by AgedCareInsite

John McCarthy talks to artist Emily Young about her travels to find stone for her sculpture, to travel writer Martin Symington about his venture in search of Britain's sacred places both ancient and modern and to Richard Grant about his exploration by inflatable raft of the Malagarasi River in East Africa. Together they consider the extent to which destinations can be spiritual. Producer: Harry Parker.

Pink Floyd - See Emily Play Written by Syd Barrett and recorded in May of 1967, See Emily Play was the second single released by Pink Floyd, following Arnold Layne. I've read various accountings of the origination of this song, but according to this source, he was quoted in NME in 1974, revealing, "I was sleeping in the woods one night, after a gig we'd played somewhere, when I saw this girl appear before me. That girl is Emily." The wikipedia article claims he later admitted he made this up. Some have speculated that Emily was really Emily Young, the 16-year-old daughter of politician. She was known as "the psychedelic schoolgirl" to those at the UFO club, where Floyd were the house band. Syd was a druggie and suffered from severe mental problems, so who knows how it really came about. There is a black and white video on YouTube, (http://www.youtube.com/watch?v=F94vHO7okZQ)which really reminds me more of something you'd have seen on The Monkees tv show. It's psychedelic, man! Enjoy some good, psychedelic Pink Floyd.